This marvelous distillation of the prevailing mood in prewar France was the first feature to win critical acclaim for the directing-writing team of Marcel Carne and Jacques Prevert (who had collaborated on JENNY and BIZARRE, BIZARRE, and who would later create the beloved CHILDREN OF

PARADISE). Gabin plays a deserter who comes to the port of Le Havre looking for passage to a distant country. In a local dive he becomes attracted to Morgan, ward of the owner of a shop that is a front for illicit dealing. When Gabin comes to Simon's shop to buy a gift for Morgan, the evil Simon

promises Gabin a passport and money if he will kill one of Simon's enemies. Gabin refuses. But hope for Gabin's escape comes when visionary artist Le Vigan gives the deserter his own passport before walking out on the quay and drowning himself.

A classic of French poetic realism, PORT OF SHADOWS conveys a deeply fatalistic belief that humankind is at the mercy of malevolent fate, a message that is communicated both through the simple story line and through the superb fog-shrouded sets (the work of Alexander Trauner) and forbidding

locations. Ironically, PORT OF SHADOWS was originally to have been a German production. Carne was introduced to the Mac Orlan novel on which the picture is loosely based by Raoul Ploquin, then head of French productions at UFA in Berlin. Nazi propaganda minister Josef Goebbels turned thumbs down

on the project, however; he considered this story of a deserter to be decadent. The rights were sold to French producer Gregor Rabinovitch, who envisioned a lighter, happier film, and so quarreled constantly with Carne. Carne also had political problems within his own country, primarily with the

French minister of war, who would not permit the word "deserter" to be used and insisted that Gabin's soldier's uniform be treated respectfully. As a result, writer Prevert was forced to deviate from the novel in almost every respect. Notably, in the book, Morgan's heroine is no tempest-tossed

innocent; she is a prostitute who murders her pimp and ends up wealthy. Banned from being shown during the Nazi occupation of France.

Review: This marvelous distillation of the prevailing mood in prewar France was the first feature to win critical acclaim for the directing-writing team of Marcel Carne and Jacques Prevert (who had collaborated on JENNY and BIZARRE, BIZARRE, and who would later cr… (more)